jubiracy filho | art matters

Monday was truly a memorable day at Regent College. In addition to the student presentation on The Last Days Of Judas Iscariot that I've already posted, here is a second paper that was given for The Christian Imagination class, as heartfelt and deeply moving as the first.  Jubiracy Filho is from Brazil.

Ten years ago, in Eastern Canada, Ontario. If I were to welcome that time as it arrived, I’d quote Job as I opened the door to it: “what I feared has come upon me; what I dreaded has happened to me”.

I was living in Toronto with my younger brother Thyago. Those were my early twenties, we were both international undergrads then. And I vividly remember, before leaving our hometown, to have shared my fear with him: that after spending most of the family’s savings, after investing precious time, and precious energy, not without leaving precious opportunities behind just to embrace this extravagant international venture, that it would prove to be, as we were about to complete it, no longer viable; that, against our will, it would ultimately need to be left unfinished. Unresolved.

And it so happened. In our second year, our parents went drastically unable to support, or help us. We had no access whatsoever to student loans; and tuitions for international students were three times higher than standard. Therefore, regardless of our efforts to work – night shifts in 24-hour coffee shops, manual labor in factories and farms, waitering on tables, cleaning toilets, dog-walkings! – we just could not afford to live and study anymore. After much reluctance, and much to my shame and sadness, and the family’s, we decided to simply go back home without our degrees.

So now I was shortly leaving the city, and it dawned on me that I had not enjoyed it! Well, when even the smell of cinnamon buns meant unaffordable luxury, there is only little much you can do to savor the city, really. But suddenly it came to me: a museum! Let’s visit a museum!

So we did. The Art Gallery of Ontario. I was now stepping into the Canadian Impressionism collection, yes, distracted. That’s when, for the very first time, I saw it. Ah, I love impressionism… I love that impressionist painters resolved to paint outdoors, en plein air, in order to recapture true effects of light, to recover colors as they were by nature! Could apples be merely yellow, or the sky whiter than just blue, or rivers, sincerely gray; brown even? Please allow me. I also love it that they used short, seemingly hesitant brush strokes, as if only their delicacy could prevent beauty from crumbling; or only their shyness, along with their togetherness, could present real beauty. In fact, whether they were barns, bridges, golden haystacks or dark rivers, I love to think these were, not one of them, the actual object in their paintings – but only light, and color itself. And if they would paint the same thing in different times of the day, in order to grasp light moving from the East to the West, weren’t they also painting… time? The fleeting shadows of it? Now, I was still contemplating it.

The rather famous, nationally celebrated, perhaps much studied, painting of Tom Thomson. I learnt that it was even printed on Canadian stamps once; and that Thomson, if not others, was not only interested in the wonders of light, but also of other phenomena, like the wind. And when you learn this painting was named “The West Wind”, you immediately respond to its invitation: “look again”. Then you see the waters of the river, being curled by it, and the clouds in the sky, being dragged by it, and the branches of the trees, as though resisting it, and the rocks and the mountains, that will simply not move to it, and you realize Thomson was not merely painting landscape. He was painting the wind. And it did move me.

At the museum shop, I took a very precious twenty-dollar bill, and used half of it to purchase the smallest possible copy of “The West Wind”. Little did I know that this was also Thomson’s last painting; that he died mysteriously, unexpectedly, in the prime of his life and career, leaving it too, unfinished, unresolved. Maybe that explains why I was leaving Canada empty of a degree, but with that copy in my bag, not completely empty.

As I was leaving the museum, I saw an interesting thing by the doors. A large tube, filled to the top with lemon-green buttons, each one containing the slogan: “art matters”. Now that pierced me: does it really? I grabbed one of them and pined it to my backpack. Does art matter? I’ve worn that button quite proudly around Toronto those days, which seems to answer the question a little.

But if art really matters, why would a museum need to affirm it? After all, aren’t the important things evidently important, in a way affirmations as such would only sound needy – which could even make people question the thing’s real importance, as it so desperately needs affirmation?

Or, maybe the question is: is everything that matters so easily and promptly valued as such? After all, aren’t we creatures that need to be constantly reminded of what really matters? For why would I decide to visit a city’s museum, in order to capture the city’s life? And why would I do so only after realizing that that very life was soon to end?

I took the copy home, hung it on the walls of every apartment I lived afterwards, and grieved over my failure for some years. What I dreaded happened indeed; what I feared did arrive… Yet, much to my amazement, so did the joy I was not expecting, and the happiness I had never, ever anticipated.

Ten years in the future, here I am, living in Vancouver, as a Regent College student; not only contemplating “The West Wind”, but actually feeling it on my face, everyday, as if to be reminded of something. That loss and failure, however long and harsh might be their strokes, that they too can mark only but fleeting shadows in time. That even unaccomplished, unresolved and unfinished stories like mine, and maybe yours, unworthy of Light and Color and Wind, that even they can be illuminated, and recovered, and moved altogether, at once, by the three of them combined. Now that matters.

michael yang, the last days of judas iscariot

Yesterday I was a guest in The Christian Imagination, a course on faith and the arts offered by Regent College. I talked about my story as a theatre artist who's also a Christian, about my aesthetic and values within the art form, the theological significance of various aspects of acting and playwriting, and what it's been like to run a professional theatre. Before I started speaking, one of the students presented a very moving reflection on the impact of seeing The Last Days Of Judas Iscariot four years ago. There couldn't have been a better or more moving introduction to what I had to say - and the remarkable thing is, when he signed up to do his presentation, he didn't know who the guest speaker was going to be.

Here's what Michael had to say.

In April of 2012, the Cultch Theatre in East Van was showcasing this provocative play called: The Last Days of Judas Iscariot.
 The official synopsis of the play says:
“Halfway between Heaven and Hell, in a place called Hope, history’s most infamous sinner [Judas Iscariot] stands trial. In a court room that’s as much ghetto as gospel, the witnesses are called – Mother Teresa, Pontius Pilate, Sigmund Freud....to decide questions of forgiveness, mercy, and eternal damnation.”
Now, who wouldn’t want to see that?


So, my friends from church and I found out about it, and we knew we had to go.
 Also, you see, there was a lot of controversy around that time about a certain book regarding Heaven and Hell, written by an author whose name rhymed with....Bob Fell.

My friends wanted to check it out because they were curious about God.

I, on the other hand, was going because I was furious at God.
Unbeknownst to them at the time, I went to see that play on hell, because my life felt like hell. In the months prior to the play, a series of incidents involving betrayal, a close friend being assaulted, and a family tragedy...compounded together to shatter my life into bits and pieces.
 This suffering left me questioning what I thought was good and true, who I could trust and rely on, it left me questioning who I was and who God was.
I wasn't sure how I was going to recover from this.

And so we show up to the Cultch.

According to Facebook the exact day was Saturday April 14, 2012. And I’m going to show you a picture to help you visualize the situation.

Yes. That’s me, along with a poster of Judas.

You can say I definitely felt a certain affinity with Judas that day.
Now, Some people, when they go through suffering or crisis––they soothe out their suffering through drinking, drugs, partying––they commemorate their crisis through getting tattoos or buying something ridiculous.
I, God only knows why, decided to triple bleach my hair blonde.
I perhaps dyed my hair to change who I was on the outside, to mask how I felt on the inside. 

So we get there to the Cultch, we watched the play, and...I was never the same again.

Because, intellectually speaking, this play was stimulating.
 For example, it suggested that the greatest sin of Judas was not betrayal, but despair. Quoting the words of Thomas Merton, Mother Teresa says in the play:
MOTHER TERESA: “Despair....is the ultimate development of a pride so great and so stiff-necked that it selects the absolute mystery of damnation rather than accept happiness from the hands of God.”
Hmm Hmm.

And then there’s one of my favourite scenes, which explores God’s potential saving work after we die. In the scene, Satan is called to court (which is situated in purgatory), as a witness, and in the process he sees souls from hell who are now somehow in purgatory. And he is angry because, quote:
SATAN: What? I don’t got enough to contend with?––now I gotta deal with God cruisin’ the barnyards of Hell poaching condemned poultry like some kind of silver-fox-tailed thief in the fuckin’ night??”
As for the aesthetic impact, it did what theatre does best: the liveness of it all.

I could hear the despair in Judas’s voice, as he refused to accept the forgiveness and love of Jesus. I could see the pleading in Jesus’s eyes for Judas to accept that forgiveness and love. I participated, along with my fellow audience members, in gasping at the sacrilegious language of foul-mouthed Saint Monica.


And of course––the words, the words, the words––so well-written and spoken with such fury, intensity, and charm––they left-ringing in our ears long after the play ended.
 All this, best experienced in a live-setting.

Lastly, the emotional impact, is what stood out most to me. The whole play felt like the emotional externalization of my interiors. All the anger, despair, bitterness, questions, and doubts I harboured––were set loose and on display in the theatre. My emotions had names, faces, voices, and they paraded on stage. They took on flesh and blood.

This is perhaps best summed up in the last scene of the play, a monologue by a college professor named Butch Honeywell, played by the brilliant Ron Reed. He is speaking to Judas, and reflecting on the mistake of sleeping with one of his students while married to his wife, and how that started a path down a life of emptiness and regret. He closes the play with these lines:

BUTCH HONEYWELL: Do you know who W.H. Auden was, Mister Iscariot? W. H. Auden was a poet who once said: “God may reduce you on Judgement Day to tears of shame, reciting by heart the poems you would have written, had your life been good” ... She was my poem, Mister Iscariot. Her and the kids. But mostly ... her ... You cashed in silver, Mister Iscariot, but me? Me, I threw away gold ... That’s a fact. That’s a natural fact.

Betrayal. Regret. Throwing away gold.

And you know what the final kicker was?

I saw the play on a Saturday.

And I sometimes wonder if that play...served as a kind of Holy Saturday for me.
 Like Jesus was coming into the depths of my hell, the depths of my catatonic despair and reaching out to me, through this play, through His Real Presence...
 to save me.

It was also this most Holy of Saturdays that prepared me, on an intimate and visceral level, for the Sunday of Resurrection, of new life. Where betrayal and heartache and despair do not have the last word. Where I realized:

I’m going to be okay.

Yes, it feels like hell right now.

Yes, I’m bloodied, beaten, bruised, broken and nearly buried.

But I’m also blessed, being brought back to life, and bursting forth with the vitality of second-chance-ness.


In many ways, experiencing The Last Days of Judas Iscariot, brought about the last days of my Old Self.
It felt like a death, but also a rebirth.

It felt like dying, but also––being born again.

bread & tulips | life is often just for sake of...

Life is often just "for sake of" and we need to know about it and want to benefit when we are presented with the occasion to. A bit for "sake of", a bit for choice, Rosalba, young and apart from anything a housewife of Pescara, during a bus trip after she found herself alone and...forgotten in a highway café, decides not to wait for her husband and sons to come back to pick her up but instead decides to find her own way home.

IMDb

jorge luis borges | contents of a certain chinese encyclopaedia

From The Celestial Emporium of Benevolent Knowledge

Animals are divided into: 

(a) those that belong to the Emperor; 

(b) embalmed ones; 

(c) those that are trained; 

(d) suckling pigs; 

(e) mermaids; 

(f) fabulous ones; 

(g) stray dogs; 

(h) those that are included in this classification; 

(i) those that tremble as if they were mad; 

(j) innumerable ones; 

(k) those drawn with a very fine camel's-hair brush; 

(l) et cetera; 

(m) those that have just broken the flower vase; 

(n) those that at a distance resemble flies.

Listed in 'a certain Chinese encyclopaedia' described in Jorge Luis Borges' short story "The Analytical Language of John Wilkins"

two found poems 2015 | assembled from the pages of the new yorker

#1

Earthlings are fragile, demanding, and germy,
not obviously suited to life elsewhere.

Some people say it's meteorites that fell,
that crashed,
and that this catastrophe splashed up gold.
I don't subscribe to this theory,
but I am sharing it with you.
Now the rivers are polluted and dying,
the government forests cut down,
the groundwater failing.

The river never ended, and the children never grew up.
A time of broken windows.

I daydream about Nancy in my bedroom as I listen to my jazz records:
Dave Brubeck, Chet Baker, the MJQ,
various cool sounds to settle me down.

And yet there's something that I find myself craving these days;
that rude resistance to being sold to,
the insistence that there is, after all, such a thing as selling out.

Sometimes we're knowing about things that we don't know much about at all.


#2

Do not push it with the vegetables.
Those who order the pear-and-kale salad,
curiously wet,
will get what they deserve.
It is unusually barbarous,
and good at Twitter.


by Ron Reed

every man heart lay down | lorenz graham

Long time past

Before you papa live

Before him papa live

Before him pa's papa live --

Long time past

Before them big tree live

Before them big tree's papa live --

That time God live.

And God look on the world

What He done make

And Him heart no lay down.

And He walk about in the town

To see the people

And He sit down in the palaver house

To know the people

And He vex too much.

And God say

"Nev mind.

The people no hear My Word

The pople no walk My way

Nev mind.

I going break the world and lose the people

I going make the day dark

And the night I going make hot.

I going make water that side where land belong

And land that side where water belong.

And I going make a new country

And make a new people."

Now this time

God's one small boy -- Him small pican -- hear God's Word

And the pican grieve for people

So he go fore God's face

And make talk for him Pa.

"Pa, I come for beg You," so he say

"I come for beg You,

Don't break the world

What You done make.

Don't lose the people

What You done care for.

I beg You

Make it I go

I talk to people

I walk with people

Bye-m-bye they savvy the way."

And the pican go down softly softly

And hold God's foot.

So God look on Him small boy

And Him heart be soft again

And God say

"Aye My son,

When you beg me so

I no can vex.

Left me now, but hear me good:

If you go you must be born like a man

And you must live like a man

And you must have hurt and have hunger.

And hear me good:

Men will hate you

And they will flog you

And bye-m-bye they will kill you

And I no going put My hand there."

And the pican say

"I agree!"

And bye-m-bye God call Mary

To be Ma for the pican

Now Mary be new wife for Joseph

And Joseph ain't touch Mary self

So first time Joseph vex.

But God say

"Nev mind, Joseph.

This be God palaver."

And Joseph heart lay down.

And God see one king who try for do good

For all him people

And God say

"Ahah, Now I send My son

For be new king."

And God send star to call the king.

And in a far country

God hear a wise man call Him name

And God say to the wise man

"I send My son to be new wise man,

Go now with the star."

And the star call

And the wise man follow.

And by the waterside

Men lay down for take rest

And they hear fine music in the sky

Like all the stars make song,

And they fear.

And all the dark make bright like day

And the water shine like fire

And no man can savvy

And they hearts turn over.

But God's angel come

And God's angel say

"Make glad, all people,

God's pican be born in Bethlehem."

And the people say "Oh."

And the wise man and the king

And the country people come to Bethlehem

And the star come low and stop.

But when they go for mansion house

The star no be there.

And when they go for Big Man's house

The star no be there.

And bye-m-bye when they go for hotel

The star no be there gain --

But the wise man say

"Ahah, the star be by the small house

Where cattle sleep!"

And it was so.

And they find Joseph and Mary

And the small pican

Fold up in country cloth

And the king bring gold for gift

And the wise man bring fine oil

And the country people bring new rice.

And they look on the God pican

And every man heart lay down.

i saw shakespeare | charles williams

I saw Shakespeare
In a Tube station on the Central London:
he was smoking a pipe:
He had Sax Rohmer's best novel under his arm
(In a cheap edition)
And the Evening News.
He was reading in the half-detached way one does.
He had just come away from an office
And the notes for The Merchant
Were in his pocket,
Beginning (it was the first line he thought of)
'Still quiring to the young-eyed cherubins',
But his chief wish was to be earning more money.


A poem by Charles Williams, written around 1930, quoted in Humphrey Carpenter's book on the Inlkings. A drastically different style from the Arthurian poems I know him for. I like this one.

shazam

To me, a true oblation. Stones I've seen while wandering the beach, picked up and put in my pocket, and mostly forgotten about. This morning I'm emptying out my pockets, and deciding which I'll keep.

Shazam is an iPhone app that tells you the name of a song you hear playing. When something catches my ear, I scramble for my phone to find out what it is. Sometimes I remember to check it out once I get home, often I don't. But they're all saved in memory - the phone's, not mine - for later. Which is now.

Tunes I hear playing in a restaurant or shop. On my car radio, or in the middle of a podcast - there's a lot of This American Life. End credits for a film in the theatre, or from the middle of a movie I'm watching at home - judging by the date, I think I discovered my great favourite People Gonna Talk while watching Moneyball - or maybe it was on the radio on my drive home? I've used it to identify tracks on a friend's mix CD that doesn't have song credits - when there are a lot of tracks on the same date, that's usually what's going on. In February last year, I listened to Ross Porter's documentary on Miles Davis, and tagged all the songs that were played - some more than familiar, some unknown to me.

I first Shazammed April 5, 2009. Just over 360 songs in six years, you can do the math - divide it by six, then by twelve…  So I can't just go ahead and buy them all. Several I've already purchased, or had in my collection but hadn't listened enough to know what they were.  Which leaves plenty more, unexamined since I first laid ears on them, glistening on the beach. I reckon I'll have myself at least a little shopping spree, download a few that catch my ear again.

New music. For spring.

Looks like today is also the day to order Carolyn Credico's CD - I heard her sing No More Blues on CBC's jazz program, Tonic, and was smitten. It turns out you can't order the recording online, but I found her email through her website, and she's going to send me a copy. Also Project Pablo, nom de groove of my buddy Rory's middle son - sophisticate, Euro-flavoured club music. 

2015

Radioactive, Imagine Dragons 0425
Balance (Nao Pode Parar!), Bossacucanova feat. Chris Delanno 0213
Gianni Scicchi, Opera ~ o Mio Babbino Caro, Renata Tebaldi 0208
Real Rock, Sound Dimension 0125
Bags Of Blues, Ray Charles & Milt Jackson 0124
The Swinging Shepherd Blues, Jimmy Smith 0124
One Of These Days, Mose Allison 0124
Midnight Special, Jimmy Smith 0124
Cryin' Blues, Charles Mingus 0124
I Gotta Right To Sing The Blues, Billie Holiday 0124

2014

All Of Me, DJ Blazee 1203
Coney Island Baby, Lou Reed 1116
Obsession, Animotion, Richard X  1024
Hey! Baby, Bruce Channel  1024
Mr. Airplane Man, Howlin' Wolf  1021
The Hour, Valerie June  1021
Blue Train, John Coltrane  1019
Later, Louis Smith  1019
Maps, Maroon 5  1010
Osamu's Theme: Kyoko's House, Philip Glass  1009
A Season Of Doubt, Cold Specks  1007
Very Loud, Shout Out Louds  1001

Meeting In Malibu, Francia Jazzline Orchestra 0912
Frank The Handyman, Rolfe Kent 0902
I'm Going Home, Arlo Guthrie 0901
Never To Have, Steve Dawson 0709
Stolen Moments, Olvier Nelson 0705
Fade Into You, Nashville Cast & Clare Bowen & Sam Palladio 0524
Jingle Bells (Bombay Dub Orchestra Remix), Joe Williams 0524
See The USA In Your Chevrolet, Dinah Shore 0416
Who Can You Trust?, Morcheeba 0410
They Can't Take That Away From Me, Charlie Parker 0408
Such Great Heights, Iron And Wine 0406
Flyin' On 747, Kid Loco 0327

Moment's Notice, John Coltrane 0228
In A Silent Way, Miles Davis 0220
Shhh-Peaceful, Miles Davis
Circle In The Round, Miles Davis
Iris, Miles Davis
Song #2, Miles Davis 0219
Concerto De Aranjuez, Miles Davis
So What, Miles Davis
All Blues, Miles Davis 0218
Freddie Freeloader, Miles Davis
Miles Ahead, Miles Davis
All Of You, Miles Davis
Ahmad's Blues, Ahmad Jamal 0217
Yardbird Suite, Charlie Parker
Solar, Miles Davis
The Serpent's Tooth
Tasty Pudding
Night In Tunisia
Boplicity
Israel,
Jeru 0215
Love Tales, Claud Thornhill
Sippin' At Bells
Night In Tunisia, Charlie Parker
Pointless Mama Blues, Miles Davis 0215
Thriving On A Riff, Charlie Parker
Ko Ko, Charlie Parker
Street Beat, Charlie Parker
21th Century Blues, Charlie Parker
Congo Blues, Charlie Parker
Miles Ahead, Miles Davis
Fat Time, Miles Davis 0214
Iris, Miles Davis 0213

Dance The Night Away, Van Halen 0125
The Pusher, Steppenwolf 0123
Twice A Week, Larry Coryell & Philip Catherine 0112
Mushaboom, Feist 0111
I'm In Love Again, The World Famous Upsetters 0111

2013

Stream Of Stars, Jeff Lynn (American Hustle) 1229
Haunted, Dusty Springfield 1226
Tomorrow Will Be Kinder, The Secret Sisters 1226
Summertime, Chet Baker 1226
Nouveau Western, MC Solaar 1226
Crazy, Gnarls Barkley 1226
Unrequited, Pat Metheny & Brad Mehldau 1226
Lumberton U.S.A. / Going Down To Lincoln, David Lynch & Angelo Badalamenti 1226
Rosita, Ben Webster 1226
I Want A Little Sugar In My Bowl, Nina Simone 1226
Will You Still Love Me Tomorrow, The Shirelles 1226
Long Way Home, Tom Waits 1226
What Is This Thing Called Love, Mel Torme 1226
Humming, Portishead 1226

Ho Hey, The Lumineers 1202
Feelin' Alright, Traffic 1111
I Wonder, Rodriguez 1109
Don't Be That Way, Tex Beneke & His Orchestra 1106
Moonlight Serenade, Glenn Miller 1106
Daddy, Sammy Kaye 1106
Not Really The Blues, Shorty Rodgers & His Giants 1104
Father And Daughter, Paul Simon 1103
Easy To Love, Billie Holiday 1031
Third Stone From The Sun, Jimi Hedrix 0818
I Fooled You This Time, Gene Chandler 0619
These Days, Nico 0614

Part: Da Pacem Domine, Keith Jarrett / Tonu Kaljuste / Talinn Chamber Orchestra / Estonian Philharmonic Chamber Choir 0505
Unrequited, Pat Metheny & Brad Mehldau 0502
Rosita, Ben Webster 0502
Humming, Portishead 0501
Till The Next Goodbye, Rolling Stones 0404
What Can I Say Dear?, Red Garland 0331
Tales From The Far Side, Bill Frisell 0331
Stretching Out, Mark Knopfler 0330
Over Your Shoulder, Calexico 0330
Missing, Calexico 0330
Gypsy's Curse, Calexico 0330
I Got A Guy, Ella Fitzgerald 0330
The Last Emperor, David Byrne 0330
Sprawl, Calexico 0330
Je Te Veux, Paul Martinez 0326
The Belt Heist, Richie Buckely 0324
Le Temps De L'amour, Francoise Hardy 0319
Do You Feel Me, Anthony Hamilton 0317
Sherlock Holmes, Spark 0315
Tin Tin Deo, Oscar Peterson 0315
Smoke From A Distant Fire, Sanford-Townsend Band 0314
Footprints, Frank Morgan 0312
(Pathetique) Sonata for Piano No. 8, Children's Listening Centre Orchestra 0307
Song For Guy, Elton John 030
Traumerei, Horowitz In Hamburg: The Last Concert 0304
Begin The Beguine, Esquivel 0302
Cha-chaborro, Los Amigos Invisibles 0302
Shatter, Liz Phair 0228
Gnossienee No 6, Jan Kaspersen
Tuff Luck, Seam 0226
Whispering, Henri Rene 0226
Champagne And Quail, Henry Mancini 0222
Red House, Jimi Hendrix
I Wish You Love, Friends of Dean Martinez 0208
Bang Bang, Sonora Carruseles
Gnossienees: No. 1, Anders Miolin
Stretching Out, Mark Knopfler 0131
Groovin', Booker T. & The MG's 0130
Fuquawi, Booker T. & The MG's 0130
Heart Of Stone, The Rolling Stones 0130
Jessica, They Might Be Giants 0129
Royal Blue, Henry Mancini 0128
Susan, Country Joe & The Fish 0127
End Credits, Ned Rifle / Phillip Reed 0126
We're Going To War, Mark Knopfler 0126
Gnossienne No. 5, Jan Kaspersen 0126
Stretching Out, Mark Knopfler 0126
5 - 4 = Unity, Pavement, 0116
Viva Tirado, El Chicano 0108 TAL
Ausencias, Astor Piazzolla 0107
Powerhouse, Don Byron 0107
Susan, Country Joe & The Fish 0127
Theme From The Tiki Wonder Hour [Combustible Edison], V.A. 0107
My Sweet Potato, Booker T & The MG's 0105
Still D.R.E., Snoop Dogg / Dr. Dre 0105
Coffaro's Theme, Bill Frisell 0105
No Sunshine, DMX 0105
Dance 8, The Philip Glass Ensemble 0105

2012

Yesterdays, Miles Davis 1228
The Lyon Game, Phono-Comb 1223
The Lonely Surfer, Jack Nitzsche 1223
Coffaro's Theme, Bill Frisell 1223
Little Wing, Stevie Ray Vaughan & Double Trouble 1223
Cardova, The Meters 1216
Ultrafox, Django Reinhardt & Stephane Grapelli 1215
Harlem Nocturne, The Viscounts 1214
Merry Christmas Baby, Booker T. & The MG's 1210
Blues For Piney Brown, Ben Webster 1201
Afrodisia, Kenny Dorham 1114
Peel, The Coctails 1109
Heroes, David Bowie 1030
Never To Have, Steve Dawson 1025
Beautiful Things, Gungor 1021
Kuu Lei, Kalama's Quartet 1014
Terrible Thing, Booker T. & The MG's 1014
Finger Lickin' Good, Beastie Boys 1014
Theme From A Clockwork Orange (Beethoviana), Walter Carlos 1014
Perpettum Mobile, Penguin Cafe Orchestra 1014
Moment Musical, Raymond Scott 1014
Go! Go! Go!, The Treniers 1014
Nice 'N' Easy, Frank Sinatra 1014
Anything Goes, Django Reinhardt 1014
I'll Live Again, The Dixie Hummingbirds 1014
Tears, Django Reinhardt 1014
Blue Drag, Django Reinhardt 1014 TAL
Destination Moon, Dinah Washington 1014
Carnival Of Souls, Combustible Edison 1012
Pilentze Pee, Krassimir Kurktshiyski 1010
Cool Cat Walk, Angelo Badalamenti and Kinny Landrum 1006
Perdita, Rubber City 1006
Some Devil, Dave Matthews 0902
When Our Wings Are Cut, Can We Still Fly?, Gustavo Santaolalla 0902
Can Light Be Found In The Darkness?, Gustavo Santaolalla 0902
Just Ain't Gonna Work Out, Mayer Hawthorne 0823
Sabu Yerkoy, Ali Farka Toure & Toumani Diabate 0721
Tell Him, Patti Drew 0628
L'Ombre Et La Lumiere, Coralie Clement 0522
Last Kiss, Pearl Jam 0219
Don't You, Simple Minds 0204
Candy Shop, Andrew Birds Bowl Of Fire 0201

2011

Rolling In The Deep, Adele 1213
You Are Not Alone, Mavis Staples 1213
Bowl Of Oranges, Bright Eyes 1213
Samson, Regina Spektor 1213
Teeth, The Ettes 1213
Water With The Wine, Joan Armatrading 1213
Shell Games, Bright Eyes 1213
Gone To Shiloh, Elton John & Leon Russell 1213
Poor Butterfly, Coleman Hawkins 1213
Waitin' Around To Die, Tones Van Zandt 1213
'Round Midnight, Joe Pass 1213
Getting To Know You, Wayne Shorter 1213
Anyone's Ghost, The National 1213
F**k You, Cee Lo Green 1213
Study War, Moby 1213
You Wouldn't Like Me, Tegan & Sara 1213
Deja Vu, John Fogerty 1213
Down By The Water, The Decemberists 1213
Love For Sale, Billie Holiday 1213
Love Me Or Leave Me, Nina Simone 1213

People Gonna Galk, James Hunter 0925
Midnight, The Stars And You, Campbell/ Connelly/Wood (The Shining) 0830
Fly, Nick Drake 0820
I Can't Stop, Arthur Conley 0503
I'm Alive With The Love Feeling, Spyder Turner 0503
You Got Me In The Palm Of Your Hand, Donald Lee Richardson 0503
I'm Yours, Jason Mraz 0309
Hanging By A Moment, Lifehouse 0304
Little Wing, Jimi Hendrix 0304
This Is The Last Time, Keane 0304
In The Beginning, K'naan 0304
Built For Comfort, Holwin' Wolf 0304
Free Fallin', John Mayer 0304
Walk Away, Ben Harper 0304
Burn & Return, Jorgensen 0304
The Wind Cries Mary, Jimi Hendrix 0304
24, Jem 0304
The Drugs Don't Work, The Verve 0304
Maybe Tomorrow, Stereophonics 0304
Skinny Love, Bon Iver 0304
I'm Yours, Jason Mraz Feat. Jah Cure & Lil' Wayne
You Give Me Something, James Morrison 0304
High And Dry, Radiohead 0304
Sleep Through The Static, Jack Johnson 0303
Magnificent, U2 0131
In My Place, Coldplay 0131
Take Me To The Riot, Stars 0131
On The Radio, Regina Spektor 0131
Kings Of Leon, Closer 0131
The Dethbridge In Lethbridge, The Rural Alberta Advantage 0131
Crystalised, The xx 0131
Blue Yodel N.1, Jimmie Rodgers 0131

2010

Twenty Four Hours A Day, Billie Holiday 1128
Between The Bars, Elliott Smith 1128
Ballantines, Aimee Mann 1128
Islands, The xx 1128
The Modern Leper, Frightened Rabbit 1125
Naima, John Coltrane 1003
Chapitres 38 A 47, Patrick Modiano 0313
I Gotta Feeling, The Black Eyed Peas 1206

2009

Manger Throne, Third Day 1125
Can't Take My Eyes Off You, Frankie Valli 1025
Fame, David Bowie 0926
I'll Live Again, The Dixie Hummingbirds 0911
Sugar Sugar, Wilson Pickett 0705
I Wonder, The Dance Machine / ABBA 0627
Just Friends, Charlie Parker 0406
Dream, Rashaan Roland Kirk 0406
The Beast, Milt Buckner 0406
Shaw 'Nuff, Charlie Parker & Dizzie Gillespie 0406
What Is This Thing Called Love?, Billie Holiday 0406
TV Is The King, Dinah Washington 0406
Easy On The Heart, Charlie Haden 0406
Baby, Get Lost, Dinah Washington 0406
Where Flamingos Fly, Gil Evans 0406
The Big Blow Out, Henry Mancini 0406
Stoney Stret, Amon Tobin 0406
Beware The Friendly Stranger, Boards Of Canada
Dawn Chorus, Boards Of Canada 0406
A Gentle Dissolve, Thievery Corporation 0406
Untitled Guitar, Bruce Cockburn 0406
Mountain Call, Bruce Cockburn 0406
Haitian Fight Song, David Byrne 0406
But Not For Me, John Coltrange 0406
Albatross, Fleetwood Mac 0405

how to become invisible

Acquire the severed head of a man who has committed suicide.
Bury the head, together with seven black beans,
on a Wednesday morning before sunrise,
and water the ground for seven days with fine brandy. 
On the eighth day, the beans will sprout.
Persuade a little girl to pick and shell them.
Pop one into your mouth.

adapted from "Sight Unseen" 

by Kathryn Schulz 

The New Yorker

clarice's ron reeds

Some time ago I got a friend request on Facebook from Clarice Limit, a name I didn't recognize. So I checked to see if we had any friends in common. Sort of…